Search the Community

Showing results for tags 'inspiration'.



More search options

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


Forums

  • WELCOME & HOW TO GET STARTED!
    • Welcome New Members!
  • SINGING & TRAINING TECHNIQUES
    • General Discussions
    • Vocal Health
  • REVIEW MY SINGING
    • Review My Singing
  • VOCAL GEAR
    • Microphones
    • Recording For Singers
    • Vocal Effects / Processing
  • SEEKING VOCALIST / VOCALIST AVAILABLE
    • Seeking Vocalist / Vocalist Available
  • ARTICLES / GEAR REVIEWS / INTERVIEWS
    • Vocal Gear Reviews
    • Singing Articles
    • Expert Interviews

Blogs

There are no results to display.

There are no results to display.

Categories

  • Singing Reviews, Programs & Lessons
  • Microphones (Live & Recording)
  • Vocal Pedals (Effects)
  • Home Recording Gear
  • Services For Singers
  • Singing Applications
  • Vocal Health Products
  • TMV World Exclusive Interviews

Categories

  • Product Reviews
  • Articles
  • Interviews

Product Groups

  • UNLIMITED SINGING REVIEWS
  • PROFESSIONAL SERVICES
  • SINGERS TEA & INHALER

Calendars

There are no results to display.

There are no results to display.


Find results in...

Find results that contain...


Date Created

  • Start

    End


Last Updated

  • Start

    End


Filter by number of...

Joined

  • Start

    End


Group


Web Site URL


Phone


How did you hear about TMV World?

Found 139 results

  1. From NYC For The Luv Of Al Green: https://www.youtube.com/watch?v=HrmaYbT3CD4
  2. TWO DOCTORS CORONAVIRUS CALIFORNIA DOCTORS THE CENSORED VIDEO Click HERE To Download & Distribute Pandemic Documentary The Hidden Agenda Behind Covid-19
  3. Opera singers, classical singers, actors, cantors, preachers and even nowadays rock stars and rappers could gain a great deal from learning one of the most elaborate and sophisticated singing techniques that was invented more than 200 years ago by the Scuola Italiana del Belcanto (translated freely into: The Italian school of beautiful singing). This ancient school of thought has produced some of the most fundamental Opera music and singing techniques that are on a daily basis use by most Opera houses in the world. But , you don't have to be an Opera singer to take advantage of the great benefits the Appoggio technique has to offer a professional vocal user You can learn to master it with an extremely good voice coach or as a part of professional voice therapy design with a voice specialist like me. Appoggio is coming from the Italian word Appogiare which means to lean on What do we lean on when we sing? On air ! Our breath support which is crucial to voice and speech production. Breath support means exactly that, the support our breath is getting before and while we produce sounds of speech or singing using the air that is coming up from our lungs moving our closed vocal cords approximately 100 times per second (Hz) for men, 200 times per second (Hz) for women and up till 400 times per second (Hz) for a child. Many singers and actors (especially beginners or natural ones- that do not attend comprehensive voice coaching as part of their training) are referred to my voice clinic by ENT surgeons after suffering from vocal nodules, vocal cords hypertrophy, detuning and other vocal abuse symptoms mainly because they do not use the correct breath support while stretching their voices to the limit. Simply put, the air support or the breath support for professional voice users like Opera singers, classical singers, actors, cantors, preachers and even nowadays rock stars and rappers should be based on the abdominal muscles. In most cases, state of the art technique for a singer will be MBS = Midsection (abdomen) Breath Support and for an actor the AGIN technique (abdominal breath support while the body is in motion, like on stage). Most clinical professional vocal abuse cases will require an exact Stroboscopy / Laryngoscopy done with the ENT specialist and the professional voice evaluation by the speech pathologist that specialize in professional voice therapy, and then the patient will be given vocal cords physiotherapy and a full 12-weeks technique for improving his breath support and tone control. While this procedure is extremely good for beginners or natural singers and actors, cantors, preachers, rock singers and rappers. It must be understood that these patients use their voice for their living their voice is their profession! Most of them simply cannot wait 12 weeks of correction like that because they will lose their jobs / places in their scheduled performances And what about the veteran singer or actor who had done a great deal of vocal training already with his voice coach and knows all about how to breath correctly? That is why this Appoggio technique will be most beneficial in these cases! Simply put, when you use Appoggio you first take in lots of air using upper chest muscles then you push in your belly muscles the diaphragm will move up pressing on the air in your lungs (that is abdominal breath support !) then you will start voice production while the pressed air is coming from below the vocal cords supporting them while vibrating, then you will use your upper chest muscles dropping them slowly controlling high pitch sounds or extra long periods of vocal singing with extra air support from the chest. So, basically, Appoggio is leaning on two breath support techniques put together the abdominal and the upper chest. A veteran singer or actor could learn that pretty quick while the beginner will be able to learn it combined with the full scale technique on the 3rd treatment providing him enough air support to hold onto his scheduled performances and thus proceeding with his 12-week voice therapy. It is good practice for the voice speech pathologist to teach the patient how to project his voice thus improving volume without putting more effort on the vocal mechanism.
  4. www.vocalizing.com By Karen Oleson and Timothy Strong The genesis for this article comes from a workshop I was asked to present for a local chapter of NATS (National Assoc. of Teachers of Singing). It is only in very recent history, that performance studies in vocal jazz have been offered in academic settings. Prior to this if one wished to be a jazz singer they learned by listening to, following and copying other singers and experimenting and performing at every opportunity. Now that jazz styles have been codified it is easier for modern educators to expose jazz singing to students at almost any age. It can be confusing for both student and teacher to try to translate the voice building techniques and exercises needed to produce desired results for both classical and jazz singing. The vocal choices one makes for singing jazz are quite different from a classical singer. My students love singing jazz and are thrilled when they are accepted into their jazz choir or ensemble but are challenged to bridge the differences between techniques. So what are these differences? Can we bridge these diverse techniques? Can they be compatible? Have we been allowing style differences to interrupt the goal of voice building? The following chart suggests some of the presumed differences in vocal technique and style. Classical Technique Voice Quality: Resonant, full bodied, clear. Breath Management: Fundamental building block for voice development. Opera singers need to sing for hours over symphony orchestra with no mic(rophone). Articulation: Pure vowels, clipped consonants, years of study in at least four languages Range: Wide range, 2 1/2 to three octaves, top notes of prime importance no matter what voice type. Flexibility: Desirable for keeping voice fresh and healthy. Necessary to negotiate challenging cadenzas. Registers: Blended, seamless connection between registers Posture: Very important consideration for breath management and voice projection. Dynamics: Requires large dynamic range from pp to ff. Messa di voce important study for voice building. Vibrato: Used extensively, integral part of the vocal quality. Jazz Technique Voice Quality: Can be earthy or breathy. Close to speaking voice. Breath Management: Singers also required to sustain long phrases and scat. But since the sound doesn’t need to as resonant, or as powerful, learning nuances of mic technique becomes essential. Articulation: Very close to speaking voice. Diphthongs are used according to singers’ choice. Range: Ranges of more than an octave unnecessary but often desired. Vocal improv takes the singer to the extremes of the voice both low and high. Flexibility: Desirable for improvisation. Registers: Breaks in voice often dramatically emphasized. Posture: Appearance often cool, dispassionate Dynamics: Fewer vocal extremes required. Vibrato: Often used minimally and at end of phrases. Classical Style Pitch: Often taught to come in on top of pitch, but to sing in middle of pitch. Rhythm: Precision is important. Runs done as meteronomically accurate as possible. Rubato done at specific places in music and according to era of music and composer. Attack: The onset of the pitch is executed gently. Letting the breath lead. The pitch needs to be precisely in tune. Musical Accuracy: Do not deviate from composers apparent intent. Sing rhythm and pitches according to what is written in the score. Improvisation: Improvisation is dictated according to current trends. Improv is allowed only in certain styles and periods of music Other features: Acting and presentation skills are important in classical singing. The quality of the sound, communicating the text and music are prime considerations. Jazz Style Pitch: Sing on lower part of pitch. Enter or scoop from under pitch. Rhythm: Fluidity within the meter is allowed and desired. Sing against or after the beat. The pause is strictly kept by the drummer so that the rest of the group can play with the rhythm. Attack: Sometimes hard onset in used, other times soft. Enter from below pitch, strong blues influence. Musical Accuracy: The whole point of singing jazz is to be a co-creator with the composer in that particular moment in time. Next time it will be different (hopefully). Improvisation: Scat syllables and improvisations are influenced by current trends. Improv is the name of the game. Other features: Presentation is secondary to listening and responding to other participants while performing. Everything is new, so that cultivating awareness of what's going on around you is of primary importance. Being in the musical moment. The chart shows how singers make choices about how they use their voices depending on the style of music. So how does this affect their training? How do we bridge these diverse techniques and can they be compatible in voice building? Most music educators will agree that we want our students to sing well, no matter what the style. Breath management is an essential part of voice building and good singing. However, because classical singers sing without a mic and have to maintain a fuller resonance they are unable to play with the subtle vocal nuances that the jazz singers enjoy. The microphone assists the jazz singer in singing with a breathy tone, growling, and singing very lightly if they wish. Still, all of those choices need breath management. Articulation is an important ingredient for both types of singing. The jazz singer can be more speech-like and casual in their approach. Ex. My = ma-i. They can play with diphthongs according to their will. Classical singers are more formal in their use of language most often stay longer on the first half vowel of a diphthong. Ex. My=mah-i. It might seem that clarity of text and understandability should have priority but both classical and jazz singers may sacrifice this for a certain type of vocal sound. Classical singers spend years learning to blend the natural occurring register breaks in the voice. Although somewhat important in the jazz singer, it is minimal. The mic can assist the jazz singer with this so that they are able to play with subtle qualities and ranges that wouldn't be heard if a classical singer tried it. Today when students enter my private studio, I ask them about their musical goals. As they are exposed to voice building techniques their goals may change but the important thing for us is to help them find their way efficiently. I've experienced having younger students wanting to be country singers develop into prize winning classical singers. I've also encountered classical trained singers who were relieved to find that there are other techniques that would help them sing musical theatre or jazz. If they are interested in both aspects of singing, the lesson time needs to be subtly managed to address different musical goals. They will need to educate their ear about pitch, vibrato, and the volume of sound and resonance of the voice. A classical singer needs to hear their voice in a natural acoustical environment without artificial support. Jazz singers needs to become accustomed to hearing themselves through amplification. As pointed out in the chart, the use of vibrato, dynamics, pitch onset, voice coloring, rhythm, and many other aspects of these two diverse styles are for the most part at odds with one another. When these considerations are pointed out to the students, they have a better chance of making appropriate choices without confusion and with an appreciation of the differences. Our studio has developed publications that present voice building exercises encompassing various musical styles.* In the example presented below, the purpose of the exercise is rich and deep: ear training, pitch accuracy, flexibility, and singing in contrasting styles. In my opinion, you get the best of both worlds here - a classical warm-up, learning to sing in a major and then a minor key (great ear training), and then scat improv in both major and minor keys. With this exercise, you have an opportunity to show off your classical voice and quickly switch to jazz. These contrasting styles require different ways of using your voice. The classical style requires a more fully resonant sound including vibrato, whereas in jazz vocals, a more speech like quality is appreciated. In conclusion, clear and meaningful communication as to the differences in vocal usage and styles can make all the difference in your students’ abilities to enjoy and perform different styles of music. I have found that presenting them with practical models for bridging the gap can do wonders for their understanding and enjoyment of music making.
  5. Hi everyone! I am a huge admirer of Shreya Ghoshal and have been a huge fan of her singing right from the time she rose to prominence in Bollywood. One of this generation’s finest singers, I have always been awed by her soothing voice and singing style. I follow her on Facebook and Instagram and always try to keep myself updated on her life and work. Being one of her superfans, I have started an initiative where I have tried to gather as much content about her as possible in one place (https://www.xpert.tv/profile/?xprt=shreya-ghoshal) so that, like me, other superfans can learn from her. If you are a Shreya Ghoshal superfan, please do help me with this initiative. If you have any content, such as videos, interviews, articles or podcasts related to Shreya Ghoshal that you feel deserves to be on the platform, do share it with me so I can duly add it. Help me in this endeavour so that all of Shreya Ghoshal’s fans can learn from her and get inspired.
  6. What song have you been addicted to lately? For me, it's this song: Another Life by D'angelo. Came out officially 7 months ago. I've been listening to it ever since, and it's almost been an everyday thing. Even made the 3rd chorus my ringtone, and I end up singing along every time my phone rings What about everyone else? What song have you been listening to a lot lately?
  7. I was just thinking about the different styles of singing and I started to wonder, what are prominent elements in different styles?
  8. Coming soon! Gotta update this page
  9. I made one of these last year. What are you vocal or musical goals for this year? 1. Improve breath support, because it is something that limits me. 2. For me, the next on my list is range increase. I'm at the point now where my style would benefit by more range, and I think other things are now strong enough to where I can really focus on range. 3. Be able to play 7 songs on the guitar while singing. 4. Pick back up Piano lessons 5. Produce first cover song using audio software. 6. Continue learning songs by ear.
  10. This is very cool! Thought I should share it for all the TMVW members who may not have seen it yet. The story in the description is worth reading also.
  11. Dusty's thread got me thinking a little, what famous musicians or famous figures in the music industry has everybody met?
  12. New revelation I had about singing I thought I would share. Regarding support it is important to engage both the rib cage/chest as well as the abdominals or belly breathing. You can become so used to diaphragmatic breathing that you forget to open your rib cage and this results in using your glottis as more of a cap on your airflow. If you breathe from your abs and open your chest and keep it expanded it becomes easier to sustain. The open rib cage acts as a steady supplier of breath while the abdominals work to increase/vary subglottic pressure.
  13. I have been somewhat in a kind of void wondering what I might post. It's been a while. I stumbled across Rosetta in my hours of Youtube wanderings searching for music. I remembered the old hymn she was singing called, "This Train," though I sang it with a waspy congregation, the whiteification of the song didn't water down it's impact on me. I like the way Rosetta soften's (with humor) the potentially "condescending" anti drinking & smoking lyrics by gesturing towards one of her band members as a loyal whiskey drinker. The inspiration of course is to always strive to shed my vices and aspire to righteousness! Makes me wanna be good! So as I'm watching Rosetta with a tear in my eye, suddenly I think of Alabama Shakes, realizing what an interesting similarity Rosetta shares with their lead singer Brittany Howard. Not ONLY that, but my favorite song by Alabama Shakes, "Don't Wanna Fight" was also a perfect sentiment to my personal circumstances, and is an outstanding groovecentric tune! Both these Women really demonstrate a level of passion and emotion in their singing that I really admire!
  14. Probably an obvious question. Or not. What makes you a singer or want to be a singer? I play guitar but around 1988 I realized or decided that I was a singer who played guitar, rather than a guitar player who sings. So, I am looking for ponderings and pontifications. How you became a singer or what led you here to improve your craft of singing. Or, at least, look for validation of your singing. Sure, anyone can record and release and even be successful as a pro singer. And there are pro singers of varying quality, having nothing or everything to do with their respective success. However, it seems special to get validation from your peers, namely, other serious singers. I have always liked singing and everyone in my family sang, so, it did not feel "special." However, I felt the need to sing, even as I learned songs that were hard on the guitar. The point was to do the whole song. Even if only one guitar and voice. I cannot remember a time where I would only want to play guitar and NOT sing. Coming here and enjoying the fellowship and awesome opportunity to learn has improved my singing, I think, regardless of having sang for many years, in public, in front of others, including people who do not know me and have no interest in preserving my feelings, delicate or otherwise. What is it about singing that really draws you in? It's indefinable, even as I try to think of helpful ideas or expressions in this initial post.
  15. Unfortunately not too many people are familiar Steve Walsh, probably because Kansas songs aren't as well known. So I wanted to start a thread to analyze his vocals. This was the song that started it all. Had to imagine that I might have never known about Steve Walsh if a classmate hadn't decided to play it. This was the first time I heard the song and that was in the post 2000s era! I didn't know anything about vocal technique back then but actually it was the lead singer's voice that captivated my attention instead of the iconic guitar riff. Below are the moments that stuck out to me the most the very first time I heard this song: 3:49 - 3:53 "Nothing equals the splendor" Very strong EE and on a C5 too! Still don't know how he does that. 3:46 - 4:00 "Surely heaven waits for you" This time an excellent OO from "you" on a B4. Pretty remarkable that it's a closed vowel at that high of an intensity! 4:13 - 4:21 "No mooooreee!" Another high intensity moment on a B4; this has got to require good breath management and efficiency Alright, here's one more: 6:48 - 7:28 OK this is pretty incredible. More than half a minute of beastly endurance! Vowels sound like OH-AH-UH to me, but I might be completely wrong.
  16. R.I.P. Jeannie Deva (1951 - 2016) I was deeply saddened to hear of the "passing" of Jeannie Deva (January 17, 2016). Jeannie was a previous member of The Modern Vocalist World and an astounding vocal coach, singer, and performer. I first met Jeannie here at TMV World, we corresponded on occasion over the years, and she was always so very kind to me. I have often wondered why she didn't continue to participate here at TMV World ? Perhaps it was because of her illness, but she never mentioned it to me. Jeannie was always very spirited, and full of happiness and joy. I will miss my Dear Friend
  17. A recent thread Mentioned Barbra Streisand and that she Never had formal training. Well, she had one coach for a month after she had a little trouble with her voice. Her name was Judy Davis. I remembered an article I had read about this. I looked for Judy Davis and found this little GEM on YouTube. I hope it helps some of you.
  18. Hi all, have not posted here for a while. I'm still studying and practicing and I've improved a lot but there's a big gap between what I can do and where I want to be. I had a few opportunities to sing while playing with people and I still sing out of tune more than I would want to (although I really improved in this sense), moreover, I don't always feel that I exactly understand my capabilities. When I picked up a guitar I've started playing with bands/people after two years of playing (a year and half of lessons and half a year practicing alone). With vocal training it seems like it would take much longer. I did have experience playing the piano before I picked up the guitar - so I already had fundamental for playing an instrument while singing takes some additional techniques that I never used (if that makes sense). Still, I'm writing because I'm somewhat frustrated... For the more experienced guys here: how many years of lessons and practicing did it take for you to be confident enough to actually start singing in a band/seriously recording?
  19. Just want to know if I should keep singing or give it up? (Singing) ----> https://www.youtube.com/watch?v=lsbptdfKSFs
  20. Whether you love or hate the Eagles.....they made some great music. Some of the best singing/harmonizing/backing vocals ever
  21. HERE IS AN EMAIL THAT WAS DISCOVERED WHERE ROBERT LUNTE, FOUNDER OF THE VOCALIST STUDIO, ANSWERS QUESTIONS ABOUT KTVA VS TVS TECHNIQUES. HERE IS AN EMAIL THAT WAS DISCOVERED WHERE ROBERT LUNTE, FOUNDER OF THE VOCALIST STUDIO, ANSWERS QUESTIONS ABOUT KTVA VS TVS TECHNIQUES. Hey Rob, So I noticed that there is a difference in definitions between TVS and Ken Tamplin's program. Ken Tamplin refers to head voice as a mode; basically a strong reinforced falsetto. WELL, ... IN REGARDS TO THE TRUE DEFINITION OF VOCAL MODES, THAT IS NOT A DEFINITION THAT IS AS ACCURATE AS IT NEEDS TO BE. IF WE ARE GOING TO TALK ABOUT MODES, IT IS BEST TO REFER TO THE ORIGINATORS OF PHYSICAL MODES, THE ESTILLIANS… WHICH IS MORE OR LESS WHAT THE TVS PHYSICAL MODES ARE INSPIRED BY. FALSETTO IS A PHYSICAL MODE, HEAD VOICE IS NOTHING MORE THEN A METAPHOR FOR THE UPPER REGISTER… HEAD VOICE ACTUALLY DOESN’T MEAN ANYTHING, IF YOU WANT TO BE STRICT ABOUT IT. IT IS A “PICTURE WORD” TO REFER TO THE UPPER VOICE SENSATION WE ALL HAVE… TO CALL IT A VOCAL MODE, IS TO CLAIM THAT IT IS A PHYSICAL AND TANGIBLE THING, WHICH IT ISN’T. THERE IS NO SUCH THING AS ‘REINFORCED FALSETTO’. THERE IS ONLY A PHYSICAL MODE CALLED FALSETTO AND IT IS CHARACTERIZED BY A WINDY, OPEN GLOTTIS THAT ESCAPES RESPIRATION. IF THE PHONATION DOES NOT HAVE WIND, IT IS NOT FALSETTO. IF YOU “REINFORCE” A PHONATION ON A HIGH NOTE ABOVE THE BRIDGE, IT IS MORE ACCURATELY GOING TO BE VOCAL TWANG… WHICH IS ANOTHER PHYSICAL MODE. In TVS falsetto is a mode, but the head voice is just what you call notes that resonate from the head, in whatever mode you are singing. WELL DONE, THAT IS MORE OR LESS CORRECT. HOWEVER, NOTE THAT THIS DEFINITION OF MODES IS NOT JUST THE WAY TVS SEES IT. IT IS ALSO THE WAY ESTILLIANS AND CVI SEES IT. ESTILL ARE THE ORIGINATORS OF VOCAL MODES, SO PEOPLE THAT CARE TO BE ACCURATE ABOUT VOCAL MODES, TEND TO FOLLOW THEIR ORIGINAL FOUNDATION ON THE TOPIC, WHICH TVS PHYSICAL MODES DO. I prefer the TVS definition. However, I think that makes the whole bridging late vs bridging early debate between the two systems inconsistent. IS THERE A DEBATE? ... OH YA, KTVA WOULD LIKE CONSUMERS TO BELIEVE THERE IS… THERE IS NO DEBATE. TVS HAS BOTH BOTTOM UP AND TOP DOWN TECHNIQUES. THIS IS A TIRED, OLD IDEA THAT STARTED ABOUT FOUR YEARS AGO THAT HAS BEEN PROPAGATED TO CREATE CONFUSION IN THE MARKET ABOUT WHAT TVS STANDS FOR... KTVA HAS GOT A LOT OF MILEAGE OUT OF PROPAGATING THIS MISINFORMATION. IT IS COMPLETELY STUPID AND I HAVE CREATED NO LESS THEN FOUR VIDEOS TO COMBAT THE CONFUSION. Ken's criticism of what he calls late bridging seems more apt to describing some classical voice teachers who teach bridging to a falsetto mode instead of a twang mode, or metal screamers who rely on a distorted reinforced falsetto. His criticism being that early bridging over time breaks down the "mid voice," of which he doesn't define. HE TALKS A GOOD GAME AND CERTAINLY SINGS A GOOD GAME… BUT WITH ALL DUE RESPECT, IN MY OPINION AND FROM FEEDBACK FROM HIS CUSTOMERS, HE DOESN’T ALWAYS DEFINE OR EXPLAIN A GOOD GAME. IN REGARDS TO EARLY BRIDGING AND VOCAL ATROPHY… ON THIS POINT, I AGREE WITH KEN. THE LACK OF BOTTOM UP TRAINING WILL RESULT IN WEAK TA MUSCLE STRENGTH AND ENDURANCE. BOTTOM TRAINING IS ESSENTIAL TO BELTING, BUT ALSO JUST TO BASIC VOCAL HEALTH. THIS IS WHY THE NEW 4PILLARS SYSTEM HAS AN EXTENSIVE BOTTOM-UP AND BELT TRAINING EXPLANATIONS AND ROUTINES. With the TVS definition, I'd say I mostly bridge early. But it's not such a big difference it seems. I can still bring a bigger boomier sound up higher, but from learning early bridging techniques, I'm not stuck to an overly heavy phonation with constriction. It's dynamic and free. PRECISELY!!!!!!!!!!! YOU NEED BOTH APPROACHES! DIFFERENT PEOPLE NEED DIFFERENT APPROACHES BASED ON THEIR NEEDS. YOU DESCRIBED THOSE NEEDS NICELY. I TOTALLY AGREE. KNOW THIS… THE REASON ANY COACH WOULD BE LIGHT ON TOP-DOWN TRAINING TECHNIQUES IS SIMPLY BECAUSE TOP-DOWN TRAINING TECHNIQUES ARE MORE COMPLICATED TO UNDERSTAND AND TEACH. IT IS A LOT EASIER TO TEACH BOTTOM-UP TECHNIQUES. TOP-DOWN TECHNIQUES REQUIRE MORE PRECISION AND MORE UNDERSTANDING OF THE MUSCULATURE AND OTHER DETAILS. "PUSH FROM THE BOTTOM UP ON AN AH VOWEL"... IS A FAR EASIER STORY TO TELL, THEN BUILDING FROM INSIDE THE HEAD VOICE. I think part of the confusion also stems from the SLS / singing success terms, where the mixed voice is their term for twang, and head voice is defined as a strong falsetto. WHICH IS AN AWFUL DEFINITION OF TWANG… AND PAINFULLY INCORRECT. AGAIN, IF ANY OF THESE PEOPLE, WOULD BOTHER TO STUDY VOCAL MODES AS I HAVE, THEY WOULD NOT BE TALKING INACCURACIES TO CONSUMERS. SLS AND SS SEEM LIKE THE LEAST INFORMED TEACHERS SOMETIMES. TO BE SURE, THEY ARE NOT TRAINED IN VOCAL MODES AND ARE WAY OF COURSE WHEN IT COMES TO BELTING. VERY FEW PEOPLE WILL EVER BUILD A STRONG TOP REGISTER BELT WITH "SING LIKE YOU SPEAK" TYPE METHODS. It's kind of silly considering the actually mixed resonance we feel is only from around c4 to E4. Mixed voice is just a bad term. YEP… THAT IS WHY I KILLED IT IN MY “MIXED VOICE IS DEAD!” VIDEO… IT IS A TERM THAT SOME TEACHERS USE TO KEEP THEIR STUDENTS CONFUSED. THE MORE YOU CAN KEEP YOUR STUDENTS CONFUSED, THE LESS YOU HAVE TO REALLY UNDERSTAND YOUR SUBJECT MATTER AND BE ABLE TO REALLY EXPLAIN THINGS AS A TEACHER. Am I understanding this right? TOM, I THINK YOU HAVE A LOT OF THIS PRETTY SQUARED AWAY. IT SEEMS THE TVS CONTENT IS HELPING YOU TO SORT THIS ALL OUT, WHICH IS GREAT. Tom
  22. Hi, TMV-ers! I thought it would be useful today to write a bit about how I approach and talk about vocal technique, in the hope that by putting these ideas out there, you can pick and choose some of them that make sense to you, and that you will hopefully find useful. As a starting point for this, I am inspired to recall an idea I read in Cornelius Reid's book, 'Voice - Psyche and Soma'. I cannot remember the exact quote, but the gist of it is that the mind and the body are acting together to produce the singing voice. I think this means for vocal technique that singing is simultaneously psychological and physical. A survey of books written on singing over the last 200 years shows that every teacher has a different approach to working with singers, a different mix of the psychological and physical. Some favor emphasis of the physical aspects, and talk about doing things with body parts, muscle groups, tendons, nasal cavities, lower jaw, the tongue, etc. Others emphasize the sensations of the singer, i.e., 'sing so that you feel such and such a sensation in such and such location in your body'. Still others rely on metaphors and imagery, i.e., 'sing out the top of your head', or 'imagine that you are projecting the tone toward a target on the wall', or 'think of a happy memory'. I don't do any of these alone. Perhaps better stated, I do them all, cherry-picking ideas and approaches from these authors that have these characteristics: 1) are based on anatomical fact, acoustical principles, and physiologically healthy bodily action. 2) are easily expressed and understood using in common language 3) can be practiced beneficially by the student without the teacher's constant supervision 4) help the singer build their ability to sing what they desire to sing - whatever genre or style that is. When it comes to teaching, I am also an optimist. :-) I believe that most people, with very few exceptions, can learn to sing for their own & others' enjoyment if they approach it with patience. In my next posts, I will be writing about the basics of how the voice works - 'what happens where' in the mind and body to produce healthy vocal tone. Along the way, I will address some common misconceptions I've encountered, and clarify some terms that are often used by singers and teachers, but not well understood. I have no illusions that the way I approach this is the only way, or even the best way. I am very interested to hear other ways of doing it as well, as that is how I learn myself. If you have a particular area you'd like to discuss, send me an e-mail or comment to my blog, and I will pull that text forward in a response. Best Regards, Steve
  23. Grooming Your Voice For Success By Julie Lyonn Lieberman It's easy to build vocal habits when you sing a song over and over again. These habits can be useful to free us to focus on performance values; but all too often, we lock in tightness and inferior function, thereby creating a struggle during performance or even hoarseness, a sore throat, and the like. No matter how good you sound, how music business savvy you are, and how hard you've worked on your material and its presentation, if you don't cultivate a ritual around how you care for your voice, you stand to compromise your future and potentially your level of success. Pro-athletes work with their muscles intelligently. They understand that if they don't warm up, respect the properties of muscle and joint function, and warm down, they may be beleaguered with aches and pains or injuries that thwart the level of success they are able to achieve. Taking responsibility represents potential longevity as well as quality of experience. Most singers already know that warm-ups are important, but they may not understand why it's essential to vocalize regularly before singing their actual material. Let's use our postural muscles as a metaphor. Let's say you spend 10 hours a day hunched over. The muscles will gradually adapt and freeze you into that posture if you don't stretch and strengthen your body to counterbalance repetitive motion. Your sound is influenced by a combination of genetics; family and geographic influences on pronunciation/articulation; and the influence of your emotional/psychological gestalt on the use of your vocal anatomy. All of these factors culminate to create habitual muscular response. This, in turn, can embed and strengthen patterns that mobilize the tongue, lips, breath, and what I call the cathedral the interior musculature of the mouth and throat. Vocal exercises aerobicize, stretch and strengthen these muscle groups so that they remain balanced. Through this process, you can refine and detail mind-to-body response so that each sound you hear, each emotion you experience, and every thought you intend to communicate to your audience is received by this flexible work station and translated into a palette of color and texture. Here is the ironic twist: we are least conscious of how we sing each time we learn a new song because our attention is focused almost entirely on learning the melody and words. Yet, this is when we tend to sing the song the most in order to learn it. If it's an original piece, this is also when we are also the most emotional because the lyrics are intimately connected to and motivated by current life experiences. Some singers, when they are imbued with feeling, tighten the throat or body to express emotion as it wells up. Muscularly speaking, the brain can't differentiate between the activity, singing that specific song, and how we are carrying out the activity. The brain takes all of that information, and locks it together into a sensory engram (which I like to call a barcode.) From that moment forward, we tend to perform the song exactly as we rehearsed it. Here are some simple procedures you can institute to improve your practice habits: 1) Warm up before singing lyrics: Assess your voice each day and choose exercises that stimulate desired response from breath support, lip action, tongue behavior, and the tone you produce. This is detailed on my DVD, Vocal Aerobics: Essentials for Today Singer (see JulieLyonn.com > Vocalist's Corner for details). 2) When learning a new song, sing the melody on the vowel that's most comfortable for you first; then use the actual vowels of the words but without the consonants. 3) To prevent any habitual muscular associations, speak the lyrics to learn them, but use varying accents from around the world or country; become an actor or actress and delivery the lyrics using different personalities, pitch settings, and emotional contexts to avoid inadvertently embedding negative muscular habits. Examples: become a British school teacher become a sea nymph speak wistfully, then angrily, then lovingly use your low range and then your high range vary volume as you speak vary pitch as you speak 4) Join the lyrics and melody together, singing softly without emotion; then try singing the song in various keys as well as with variations in volume. You can apply the personalities you've rehearsed to the sung version as well. 5) Now sing emotionally. Notice what happens to you physically when you become more expressive. If you discover tension mounting in areas of your body, try varying how you express emotion by using imagery: I will pour my anger out the bottom of my feet like a pitcher with a leak. I will inhale and exhale on between each sentence as if I'm filling the sails of a sailboat with my breath and emulate that image when I sing each sentence of the song. I will sing the song with the opposite emotion the lyrics require (emotion is energy and when we pour anger into a love song, it doesn't necessarily read as anger it can read as heightened passion!) There is a popular quote, sometimes attributed to Albert Einstein, and other times to Benjamin Franklin or Rita Mae Brown, that goes something like, Insanity is doing the same thing the same way over and over again and expecting different results. The above practice procedures will give you an opportunity to step out of old practice habits and thereby gain new results. Vocal Aerobics: Essentials for Today's Singers with Julie Lyonn Lieberman 60-minute instructional DVD distributed by Hal Leonard World-renowned music educator, Julie Lyonn Lieberman, has created an instructional DVD for singers. Her practice system focuses on cognitive illumination and muscular facility. This system can help develop a vibrating palette that communicates spirit, emotion, and viewpoint all riding effortlessly on the breath. It is supported by science yet connected to individuality. By first guiding the exercises in silence, her intent is to prevent the tension and misuse that often occur when the main impetus for the creation of musical sound is fueled by a brew of yearning and fear mixed with a fixation on the end product. Topics covered include: Section I Introduction, Creating a Cathedral, Breath Anatomy Section II Aerobicizing the Tongue, Mobilizing the Lips Section III Balancing the non-dominant side of the mouth, Posture, The Power of Imagery, Warming Up and Warming Down, Vocal Health Ms. Lieberman trusts the innate intelligence of the client by making sure that they understand how and why each region of their vocal anatomy works the way it does. Through extensive experience teaching, she has developed ergonomically based exercises that are fulcrum triggers: they get the job done more efficiently and faster. Lieberman has discovered that when the lights are turned on and the equipment is illuminated, epiphanies abound and can continue to be generated by the singer, long after the teacher leaves the room. Her in-depth studies while creating her critically acclaimed book You Are Your Instrument, followed by her three spin-off DVDs (The Vocalist's Guide to Fitness, Health and Musicianship, The Instrumentalist's Guide to Fitness, Health and Musicianship, and The Violin in Motion) place a unique spin on this body of work. Most voice teachers use exercises that are effective in the long run or they would be put out of business, but the older model for mentorship entailed a do as I do and do as I say approach. It was a faith-based relationship; the student was expected to blindly follow the teacher’s directions without specifics, context, or adequate rapport with the musculature required to do the job smoothly and consciously. The belief behind that style of work was that if you repeated each exercise enough times (often while inadvertently thinking about something else), that it would help you sing better. This is the long, slow train to success. Julie believes that it's time to replace unconscious repetition with less activity, more awareness, and targeted control. She will help you convert the butcher's knife into a laser beam! About the author Julie Lyonn Lieberman has specialized in working with creative vocalists in her NYC music studio over the last 3 decades. Her students have included artists such as Grammy-nominated singer/songwriter Vanessa Carlton, Grammy-nominated Putnam Murdock, Indie music award winner Kara Suzanne (best new folk-singer/songwriter album of the year), and critically acclaimed lyricist Julie Flanders, to name a few. Ms. Lieberman is an improvising violinist/singer, composer, recording artist, journalist, educator, and the author of nine books and six instructional DVDs. A dynamic, participatory workshop leader, her ability to stimulate participants to think and grow in new ways has earned respect for her work throughout the world. In addition to currently teaching improvisation at Juilliard, she has presented for organizations like Music Educators Association, International Association of Jazz Educators, the Juilliard MAP Program, Carnegie/Weill Hall/Juilliard's The Academy,National Young Audiences, and the Carnegie Hall LinkUp. Lieberman is a J. D'Addario Elite Clinician. Alfred Publishing publishes her scores. To Order: This DVD is distributed by Hal Leonard through your local music, book store, and amazon.com for $23.95 or SPECIAL PRICE FOR MEMBERS OF THE MODERN VOCALIST Purchase through Paypal at The Vocalist's Corner on julielyonn.com or Send a check to Julie Lyonn Music, P.O. Box 268, Worthington, MA 01098 $21.95 + $5.00 shipping in the U.S.Add $5 outside the U.S.
  24. 'Vocal Strength and Power' by Dena Murray Interview Steve: Hi, Dena! I understand that your new book on singing has just been published. Would you tell us a little bit about it? Dena: This is a book that has been 15 years in the making. From the time I started teaching (over 20 years ago,) I knew there was a problem with the prevailing concepts of diaphragmatic support. Singers were injuring themselves from too much pressure and misperceiving instructions. Steve: Do yo mean that the usual "singing teacher's lingo" was not helpful in leading the student in what they should do? Dena: Yes, exactly. They also were not getting what they'd hoped to get from taking lessons i.e., freedom when singing/performing. So after many years of study, I finally uncovered that the problem boiled down to correct intake of air (the inhale) and created exercises to correct it. Steve: You've published two other books on singing. How does this latest one fit in with them? Dena: Well, I never set out to do a three-part series but that was the end result of all my work. Vocal Technique: Finding Your Real Voice is a beginners book and focuses on the vocal mechanism. I did two things deliberately for the beginner: 1) I skipped the discussion of how to use the diaphragm for support, and instead created exercises to builid up the muscles and cartilages which control/support the vocal folds, and, 2) I separated the chest voice from the head voice because in my experience if there are problems in either register, those problems will show up when trying to bridge and combine them for that one-register sound.This book is the first step in how to gain support. Steve: Ok, I am with you so far. How was your approach received by your readers? Dena: Very well, I think. My European readers were especially open with their positive feed-back, and I still receive comments to day on that book's usefulness. Steve: Ok! What was your second book like? Dena: The second one, Advanced Vocal Technique: Middle Voice, Placement & Styles (co-authored by Tita Hutchison,) focuses on a step-by-step process of how to bridge the voice for the one register sound, vowel formation, and correct placement for any given style. Steve: So, that would make it the 'next steps' after clarifying the Chest and Head voices, and some discussion of the different vocal productions. Dena: Yes, that's right. There are 13 exercises in this book with every feeling and sensation one should (and shouldn't) have, literally spelled out for the singer. Again, we purposely stayed away from too much focus on the diaphragm. This book is the second step with regard to support. Steve: All right. How does this third book extend the approach of the other two? Dena: In this third and last book of the series, Vocal Strength and Power, the focus is solely on how to employ correct use of the diaphragmatic region for its support of the entire mechanism. Steve: How is your approach different from other's you've heard? Dena: Simply stated, I've uncovered a problem inherent with other approaches to 'support' instruction, and created exercises to correct the problem. Steve: Ok, I'll bite. What is the problem? Dena: The problem is the correct intake of air before singing. Steve: Who can benefit from your approach and exercises? Dena: Anyone should be able to add these exercises (if they should so choose) to already working methods of techniques when they notice they are struggling for not just the freedom, but also their inherent great sound. Steve: Dena, what else does the book contain? Dena: In addition to the CD of exercises, this book also includes a glossary of dictionary-definition.